Vision Éternel photo shoot at Dalhousie Station, Montreal. Photography by Jeremy Roux, 2011.

Vision Éternel Photo Shoot At Dalhousie Station

Tonight, Vision Éternel went out for a new photo shoot with established graphic designer and talented photographer Jeremy Roux. We headed to the old Dalhousie train station in Old Montreal, one of the few gem buildings still standing from a long-forgotten era of development by the English community in Montreal. The classic and well-designed train terminal was built by Canadian Pacific Railway in the 1880’s.

This session turned out some of the most visually striking photos ever taken of Vision Éternel. And with good reason; they were influenced by some of the greatest film noir directors, cinematographers and photographers of all time. Here are a few that came to mind while preparing for this photo shoot over the last few weeks:

-“The Killers“-especially the opening sequence which was adapted directly from Ernest Hemingway’s short story of the same name (1946, directed by Robert Siodmak with photography by Elwood Bredell),
-“Out Of The Past” (1947, directed by Jacques Tourneur with photography by Nicholas Musuraca),
-“The Night Of The Hunter” (1955, directed by Charles Laughton with photography by Stanley Cortez),
-“Strangers On A Train” (1951, directed by Alfred Hitchcock with photography by Robert Burks),
-“The Big Combo” (1955, directed by Joseph Lewis with photography by John Alton),
-“The Dark Corner” (1946, directed by Henry Hathaway with photography by Joseph MacDonald),
-“Shadow Of A Doubt” (1943, directed by Alfred Hitchcock with photography by Joseph Valentine),
-“Stranger On The Third Floor” (1940, directed by Boris Ingster with photography by Nicholas Musuraca),
-“Night And The City” (1950, directed by Jules Dassin with photography by Mutz Greenbaum),
-“Where The Sidewalk Ends” (1950, directed by Otto Preminger with photography by Joseph LaShelle),
-“The Maltese Falcon” (1941, directed by John Huston with photography by Arthur Edeson),
-“Murder My Sweet” (1944, directed by Edward Dmytryk with photography by Harry Wild),
-“The Third Man” (1949, directed by Carol Reed with photography by Robert Krasker) and
-“Kiss Of Death” (1947, directed by Henry Hathaway with photography by Norbert Brodine).
-Yousuf Karsh’s distinct photographic style was also a major influence.

Postscriptum: This entire photo shoot (with the exception of eight stills in varying quality) was lost to a hard drive failure in March of 2012. It is because of this that we are not able to provide more visuals from this session.

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